Eugene Delacroix | artble.com Eugene Delacroix Women of Algiers in their apartment Eugene Delacroix Ferdinand Eugene Victor Delacroix, more commonly known as Eugene Delacroix, was a French painter who had a profound influence on the Romantic movement. Known as a "master of color," Delacroix became a pupil of the English Romantic landscapists and extracted from their techniques, to develop a unique and memorable approach to color. The impact of literature and both historical and contemporary events, coupled with his innate artistic technique created an explosive viewing experience on canvas. The settings around him also shaped his work; he traveled throughout Europe but Morocco seemed to have the greatest impact on him of all the places he visited. Delacroix enjoyed a long and successful career, receiving countless commissions from the government. His violent subject matter, intense passion, and bright colors puzzled and offended some contemporary critics but earned the admiration of others. Delacroix's paintings changed the art world forever and his technique had a lasting impact on the Impressionist and Post-Impressionist movements. Today, Eugene Delacroix is remembered as one of the world's most influential French Romantic painters and his expertise and genius is fully recognized and appreciated by modern day art critics.

Eugene Delacroix Artistic Context Peter Paul Rubens Romanticism is sometimes viewed as a reaction to its more serious predecessor, the Neoclassical movement. As Neoclassical artists focused on properly accounting history through close attention to detail, Romantic artists flirted with themes of man's self glorification, man's part in nature, divinity found in nature, and emotion. Romanticism emphasizes the individual sense of self, creativity, imagination, and the value of art to make a statement. This emphasis on the individual is reflected in the ideas of self-realization through the act of contemplating nature. There is the idea that the individual can only directly understand nature, free from society. Peace and salvation come through the individual rather than through political movements. Romantic painters like Delacroix were part of a complex multimedia philosophical movement, involving the literary, visual, and intellectual arts. Eugene Delacroix fine-tuned Romanticism, incorporating the influences of great masters such as Michelangelo and Peter Paul Rubens. He developed his own personal style, with an affinity for showing pain and suffering in his work through brightly colored canvases.

Eugene Delacroix Biography Eugene Delacroix Early Years: On April 26, 1798 Eugene Delacroix was born in France to an artistic family. He began studying art at the age of 17 and was taken under the wing of academic painter, Baron Pierre-Narcisse Guerin. Aged 24, Delacroix was put in charge of architectural decorations for another statesman, Adolphe Theirs. His early years were influenced by fellow Romantic artists as well as Polish composer and pianist Frederic Chopin. Intermediate Years: Early on, Delacroix's work demonstrated the influence of Michelangelo's and Peter Paul Rubens, as seen in Dante and Virgil in Hell which the artist exhibited to the Salon of 1822. His next exhibition to the Salon of 1824 was Massacres at Chios: Greek Families Awaiting Death or Slavery which conveyed the bloody defeat of the Greeks by the Turks. Delacroix's ability to tap into the emotion of his subjects, both the haughty conquerors and the innocent victims, caught the attention of the art world.

Traveling to London just a year later, Delacroix studied the work of the English painters he greatly admired. He felt this trip had brought him closer to mimicking Rubens colorful style and this was evident in his 1830 work July 28: Liberty Leading the People . Delacroix continued traveling, this time to Spain, Algeria and Morocco. His time in Morocco changed him forever; he was mesmerized by the foreign culture and continued to paint Arab subjects for the rest of his career. Advanced Years: Delacroix spent most of his mature years decorating the walls and ceilings of government buildings. These mural commissions made him feel closer to his idol, Michelangelo. The canvases of his late career include The Battle of Taillebourg and The Taking of Constantinople by the Crusaders (April 12 1204). Delacroix died in France in 1863. Besides many drawings, watercolors, and paintings, he left behind a legacy that forever changed the art world, specifically inspiring the Impressionist and Post-Impressionist painters. Thomas Lawrence Bristol Though his style had evolved over the years, Eugene Delacroix stayed true to his displays of emotion and intense colors.

His expression was uninhibited and his canvases exploded with energy. The artist never hid his fascination for destruction and violence and brought them to life through virtuous colors. He is still admired for his bold, technical innovations. Early Years: Before he could completely develop his own signature style, Delacroix experimented with those of the masters before him. He was somewhat self-taught from observing the works of Michelangelo and Peter Paul Rubens. Aged 17 he pursued classical studies and this training was most evident in his early work. As a pupil of academic painter, Baron Pierre-Narcisse Guerin, he learned to paint according to life. In his first masterpiece, Dante and Virgil in Hell, his unblended colors only took form from a distance. This technique would inspire the Impressionist movement. Mature Period: Delacroix continued to paint with great vividness and emotion. His 1824 work Massacre at Chios, which displays the killing of 20,000 Greeks by Turks on the island of Chios is a perfect example of his maturation in style. At 27 Delacroix traveled to London, a trip inspired by his admiration for English landscape painters.

Turner 's bright watercolors and energetically colored canvases were an obvious influence on the artist, as was the work of Sir Thomas Lawrence. His technical skills developed during this time. Delacroix's Liberty leading the People served to commemorate the recent French Revolution and this canvas reflected a change in the artist's style; he painted with passion and animation but the overall tone was a quieter one. After visiting Morocco Delacroix handled his drawing and painting more freely. And his use of colors became even more sumptuous. Late Style: Delacroix's style wasn't altered dramatically as he aged but he did begin to work on a larger scale. He was commissioned to paint murals on the walls and ceilings of several government buildings. He also painted The Battle of Taillebourg and The Taking of Constantinople by the Crusaders (April 12 1204) which were the largest of his career. Who or What Influenced Eugene Delacroix Lord Byron Delacroix: "The work of a painter who is not a colorist is illumination rather than painting. If one intends something other than cameos, color is, strictly speaking, one of the founding principles of painting, no less so than chiaroscuro, proportion and perspective...

Color gives the appearance of life." Chopin Eugene Delacroix was himself an inspired being and throughout his lifetime he remained perceptive to the great artistic contributions of others. Michelangelo: Like many artists, Delacroix could not escape the influence of Michelangelo. Delacroix intensely studied his modeling of figures and the life (or death) he brought to the canvas. During the latter part of his life, Delacroix was commissioned to paint several murals on the ceilings and walls of government buildings. The intensity of his work, the violence, tragedy and sadness is said to have rivaled that of his role model. Rubens: Delacroix also tried to exemplify the work of another master, Peter Paul Rubens. He was deeply affected by Rubens' treatment of color, and his influence is obvious in Delacroix's canvases. Literary figures: Delacroix also drew significant inspiration from literature and authors such as Dante Alighieri ( Dante and Virgil in Hell ) and William Shakespeare. Romantic poet, Lord Byron, also proved to be a key motivator in Delacroix's work. English artists: Delacroix developed a fascination with the work of English painters early on in his career.

He admired the work of John Constable, a landscapist, after viewing his exhibition in Paris in 1824. The luminous tonalities of Massacre at Chios can be traced back to Constable. Delacroix shared a studio in Paris with English painter Richard Bonington and was greatly influenced by his use of watercolors. Though Bonington died shortly after this (aged just 26) Delacroix's admiration for the English art continued and drove him to visit London in 1825. Legendary English landscapists J. M.W. Turner had an effect on Delacroix through his bright watercolors and energetically colored canvases. His trip abroad helped develop his technical skills and deepened his cultural education. Sir Thomas Lawrence, a gifted portrait artist, also influenced the young artist. Morocco: In 1832 Delacroix toured Morocco with King Louis-Philippe's representative of the Sultan. He was refreshed by a culture that was so vastly different to the French: the brightly colored, flowing costumes, the Arabs and their women, and the enchanting horses. Delacroix used Arab subjects in his work for the remainder of his life.

Frederic Chopin: The music of Romantic composer Chopin is also said to have inspired Delacroix. He developed a friendship with the talented Polish composer and even painted his portrait. Eugene Delacroix Works After a trip to Morocco in 1832 Delacroix used ... Date of Creationcirca 1850 Women of Algiers Pablo Picasso Eugene Delacroix was not only an inspiration for Romantic artists during his time, but he also inspired the development of the Impressionist, Post-Impressionist, and Modernist movements. Delacroix's style and contribution to the art world continues to influence artists today. Contemporary followers: Delacroix was key in the progression of the Romantic Movement. Essentially most of the Romantic artists were his followers in one way or another. Delacroix, (along with J. M.W. Turner), was a forerunner to the growth of the Impressionist, Post-Impressionist and Modernist movements. Delacroix's predecessors were impressed by the movement and energy in his work and the virtuosity of his color. His bold technical innovations strongly influenced his followers.

Delacroix's influence is strongest in the work of Impressionist artist Edgar Degas, who clearly imitated Delacroix approach to color. Interestingly enough, Degas combined his style with that of Delacroix's rival J. A.D. Ingres , who was devoted to the classical line. By combining these confronting styles, Degas' solution became the carefully drawn and vivid pastels evident in many of his works. Posthumous reception: The Modernist painter Picasso produced several studies of Delacroix's Women of Algiers. Along with close friend and friendly rival, Henri Mattise, Picasso was inspired by Delacroix's use of color. Modern day followers: Like many great artists, Delacroix's influence is inevitable. Some current artists may feel they are mimicking the Impressionists, Post-Impressionist and Modernist painters, like Picasso and Matisse but may not realize that Delacroix's influenced trickled down through these artists. Delacroix's work is still greatly admired today and he continues to attract visitors to exhibits of his work. Eugene Delacroix Bibliography To find out more about Delacroix and his work please refer to the recommended reading list below. • Bussy, Dorothy.

Eugene Delacroix. BiblioBazaar, 2009 • Gombrich, E. H. The Story of Art. Phaidon Press Limited, 1995 • Jobert, Barthélémy. Delacroix. Princeton University Press, 1997 • Johnson, Dorothy. David to Delacroix: The Rise of Romantic Mythology (Bettie Allison Rand Lectures in Art History). The University of North Carolina Press, 2011 • Johnson, Lee. Delacroix. New York Press, 1963 • Kauffman, Jean-Paul. Wrestling with the Angel: The Mystery of Delacroix's Mural. The Harvill Press, 2003 • Noon, Patrick, et al. Crossing the Channel: British and French Painting in the Age of Romanticism. Tate Publishing, 2003 • Prideaux, Tom. The World of Delacroix: 1798-1863. Time Life Education, 1966 Want a Printed Copy of These Books?

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Counted USD: WebMuseum: Delacroix, Eugï¿½ne Delacroix, Eugï¿½ne Delacroix, Eugï¿½ne, in full FERDINAND- VICTOR-EUGENE DELACROIX (b. April 26, 1798, Charenton-Saint-Maurice, Fr.--d. Aug. 13, 1863, Paris), the greatest French Romantic painter, whose use of colour was influential in the development of both Impressionist and Postimpressionist painters. His inspiration came chiefly from historical or contemporary events or literature, and a visit to Morocco in 1832 provided him with further exotic subjects. Encyclopaedia Britannica , 1994 Eugene Delacroix is numbered among the greatest and most influential of French painters. He is most often classified as an artist of the Romantic school. His remarkable use of color was later to influence impressionist painters and even modern artists such as Pablo Picasso. Ferdinand-Victor-Eugene Delacroix was born on April 26, 1798, in Charenton-St-Maurice, France.

In 1815 he became the pupil of the French painter Pierre-Narcisse Guerin and began a career that would produce more than 850 paintings and great numbers of drawings, murals, and other works. In 1822 Delacroix submitted his first picture to the important Paris Salon exhibition: Dante and Virgil in Hell . A technique used in this work--many unblended colors forming what at a distance looks like a unified whole--would later be used by the impressionists. His next Salon entry was in 1824: Massacre at Chios . With great vividness of color and strong emotion it pictured an incident in which 20,000 Greeks were killed by Turks on the island of Chios. The French government purchased it for 6,000 francs. The Massacre at Chios 1824 (60 Kb); Oil on canvas; Louvre Impressed by the techniques of English painters such as John Constable , Delacroix visited England in 1825. His tours of the galleries, visits to the theater, and observations of English culture in general made a lasting impression upon him.

Between 1827 and 1832 Delacroix seemed to produce one masterpiece after another. He again used historical themes in The Battle of Nancy . The poetry of Lord Byron inspired a painting for the 1827 Salon, Death of Sardanapalus . Delacroix also created a set of 17 lithographs to illustrate a French edition of Goethe's Faust Study for "The Death of Sardanapalus" 1827-28 (77 Kb); Pastel with chalk over wash on paper; Art Institute of Chicago The Death of Sardanapal 1827 (130 Kb); Oil on canvas, 392 x 496 cm; Musee du Louvre, Paris The French revolution of 1830 inspired the famous Liberty Guiding the People , which was the last of Delacroix's paintings that truly embodied the romantic ideal. He found new inspiration on a trip to Morocco in 1832.

The ancient, proud, and exotic culture moved him to write "I am quite overwhelmed by what I have seen." La Libertï¿½ guidant le peuple In 1833 Delacroix painted a group of murals for the king's chamber at the Palais Bourbon. He continued doing this type of painting, including panels for the Louvre and for the Museum of History at Versailles, until 1861. Much of the architectural painting involved long hours on uncomfortable scaffolding in drafty buildings, and his health suffered. He died on Aug. 13, 1863, in Paris. His apartment there was made into a museum in his memory.

Orphan Girl in a Cemetery (40 Kb) (60 Kb); National Gallery at London The Sea of Galilee (60 Kb); Walters Art Gallery at Baltimore The Barque of Dante 1822 (150 Kb); Oil on canvas, 189 x 242 cm (74 1/2 x 95 1/4"); Musee du Louvre, Paris Combat of Giaour and Hassan 1826 (80 Kb); Oil on canvas; Art Institute of Chicago The Jewish Bride of Tangier 1832 (50 Kb); Watercolor over lead pencil on beige paper; Louvre Algerian Women in Their Apartments 1834 (170 Kb); Oil on canvas, (180 x 229 cm) (71 x 90 1/4"); Musee du Louvre, Paris Entry of the Crusaders into Constantinople on 12 April 1204 1840 (240 Kb); Canvas, 411 x 497 cm (162 x 195 1/2 in); Musee du Louvre, Paris The Ab

duction of Rebecca Arab Horseman Attacked by a Lion 1849-50 (40 Kb); Oil on panel; Art Institute of Chicago Andromeda c.

1852 (170 Kb); Oil on canvas, 32.5 x 24.8 cm (12 7/8 x 9 3/4 in); Museum of Fine Arts, Houston, Texas Lion Hunt 1854 (180 Kb); Oil sketch, 86 x 115 cm (2' 9 3/4" x 3' 9 1/4"); Musee d'Orsay, Paris Lion Hunt 1860-61 (80 Kb); Oil on canvas; Art Institute of Chicago Arabian Horses Fighting in a Stable 1860 (160 Kb); Oil on canvas, 64.5 x 81 cm; Musee d'Orsay, Paris Arabs Skirmishing in the Mountains 1863 (160 Kb); Oil on canvas, 92.5 x 74.6 cm (36 3/8 x 29 3/8 in); The National Gallery of Art, Washington, D.C.

ï¿½ 04 Aug 2002, Nicolas Pioch - Top - Up - Info Thanks to the BMW Foundation, the WebMuseum mirrors , partners and contributors for their support. The Massacre of Chios - Eugene Delacroix - oil painting reproduction The Massacre of Chios Delacroix, Eugene (Eugène Ferdinand Victor Delacroix)(French 1798-1863) Romantic Painter, Specializes in Orientalism. Title: 100% Handmade Oil Painting on Canvas. Shipping: Finish and send in 2 to 3 weeks 100% Hand Painted Fine Oil Painting Reproduction No printing or digital imaging techniques are used. " Eugene Delacroix's The Massacre of Chios " will be hand painted by our professional and experienced artist on real artist's canvas in the traditional way the real artist would paint. quality samples oil painting reproduction samples Testimonials Good morning dear Simon, I did receive the painting just now and he is splendid and i will contact you next month. With kind regards, Scharnegoutum Holland The painting was received successfully. It was a gift to my girlfriend and she loves it. Excellent work. Thank you.

NY 10032 ,United States I receive the painting 'Sleeping Nude with Arms Open (Red Nude).' 1917 by Amedeo Modighliani. The painting is very good. Thank you for the good job!

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Any Size is possible: custom size or original size or aspect ratio size all are conceivable. Any Photo is welcome: If you have another image of this painting that you would like our artist to work from, please send it to us. Changement is no problem: Sometimes, customers want to make a small adjustment on masterpiece to creat a new painting by using their own idea. It is also OK with us, just email us with your design, we can transfer it on canvas. Please let's know - Email . The Massacre at Chios by Eugene Delacroix The Massacre at Chios by Eugene Delacroix Courtesy of As early as September 15, 1821, Delacroix had thought of using the desperate revolt of the Greeks against the Turks, begun in 1820, as the subject for a painting, and had confided this intention to his friend Raymond Soulier: "I plan to do for the next Salon a picture for which I will take the subject from the recent wars between the Turks and Greeks. I believe that, in the present circumstances, if there is any quality in the execution of the work, it will be a way to distinguish myself".

However, the artist postponed the execution of his project and in the interim, in April, 1822, there were the terrible massacres on the island of Chios, in which twenty thousand people died. Delacroix perhaps found his inspiration in the facts related in the Memoires of Colonel Voutier, a French officer in the Greek forces, with whom he was in contact. With this canvas, Delacroix takes his place as the leader of the Romantic school of painting. His palette has become considerably lighter since The Barque of Dante . He has acquired a freer manner, in which one can note the use of hatchings and a deeper knowledge of the reflection of light. In the luminous landscape, scorched with sun, which reveals an amazing sense of spatial values, the groups of dying people are reminiscent of those in the Pest Hospital at Jaffa of Gros, whose disapproval we have nevertheless already noted, while the Turkish officer carrying off a woman is close to Gericault's Officer of the Chasseurs of the Guard. The lyricism of the colors combines with the Baroque plasticity of the forms to make us forget how easily the subject might have been limited to mere anecdote.

As Baudelaire wrote in his Art Romantique: "In this work, all is desolation, massacre, and fire; everything bears witness to the eternal and incorrigible barbarism of man. Burnt-out and smoking cities, slaughtered vicitims, raped women, even children stabbed or thrown beneath the feet of horses, frenzied mothers; this whole work, I say, seems like a terrifying hymn composed to celebrate doom and irremediable suffering." Massacre at Chios | An Introduction to 19th Century Art Louvre, Paris French writer Stendahl (Henri Beyle) evaluated Delacroix’s Massacre at Chios when he saw it at the 1824 Salon: “With the best will in the world, I can’t admire M. Delacroix and his Massacre at Chios. This work always makes me think of a picture originally intended to represent a plague, which the artist then turned into a Massacre at Chios after reading the newspaper reports.

All I can see in the large, living corpse in the middle of the picture is an unfortunate victim of the plague who tried to remove the deadly tumor himself; that, at any rate, is what the blood on the character’s left flank suggests. Another incident which all young art-students infallibly put in their pictures of plagues is a child trying to suck from the breast of its dead mother; there it is in M. Delacroix’s picture, in the right-hand corner. A Massacre must have an executioner and a victim. There ought to have been a fanatical Turk, as handsome as M. Girodet’s as they sacrifice divinely beautiful Greek women and threaten the aged father before he falls after his daughters, the next victim to their blows. … Two days ago the Journal des Débats claimed that the Massacre at Chios is Shakespearian poetry. I feel that if this picture is only mediocre it is because it errs on the side of excess and not insignificance…” Reprinted in David Wakefield, ed., Stendahl and the Arts (New York: Phaidon, 1973), pp. 114-15.

An anonymous contemporary critic writing in Le Mercure du Dix-Neuvieme Siecle (vol. 7, 1824) recorded his response to Delacroix’s Massacre at Chios : “I felt repulsed, not by the horrors of the subject, but by the hideous aspect of the painting….Cadavers already marked by the imprint of destruction and the livid color which announce the second stage of death busy disfiguring them; living bodies which resemble the cadavers, a poor even degraded nature….faces either burned by the sun like Africans, or soiled, with that species of color, dirty, yellowed, and somber resulting from old age, suffering, and above all long-accustomed distress….Why does he give it an even more hideous air with those clashing touches of a brush that heaps colors one next to another, without uniting them or establishing any harmonious relation among them?” Cited in Darcy Grimaldo Grigsby, Extremities: Painting Empire in Post-Revolutionary France (New Haven, CT: Yale University Press, 2002), p. 275.

Lee Johnson considers Delacroix’s debt to Gros’s Pesthouse at Jaffa (1804): “Charles Blanc states (1864) that the Massacres de Scio was conceived under the influence of the Plague at Jaffa, Alexandre Dumas (1864) that Delacroix told him the first idea for it came to him in fron of Gros’s picture. Though neither statement should perhaps be taken literally, there can be no doubt that Gros’s painting, first shown at the Salon of 1804, was the most important contemporary precedent for a Near-Eastern scene of suffering of this kind, treated on a grand scale and with some feeling for the sensuous painterly qualities of the medium, for sunshine and the luster of exotic costume.

The more the pity that Gros should have so far renounced the implications of his own early creative gifts as to disapproved of Delacroix’s picture and, if Alexandre Dumas is to be believed…denounce it as the ‘massacre of painting.’’ Johnson also notes that contemporaries considered the painting path-breaking: “From the moment it was hung at the Salon…the Massacres de Scio was interpreted as making a new departure, as posing a threat to the accepted standards of the neo-classical school, and Delacroix himself looked back on it as marking the point where, he supposed, ‘I began to become an object of antipathy for the academy and a kind of nuisance...For the first time a painting was labeled romantic in contrast to the classicism of David: [art critic] Chauvin…after arguing that the classicist satisfies both heart and mind by drawing on ‘la belle nature’ [beautiful nature] whereas the romantic ‘has an unknown kind of power, outside of nature, that shocks at the very first glance,’ concluded ‘I label [ David ’s] Léonidas classical and Massacre de Scio romantic.’” Lee Johnson, The Paintings of Eugène Delacroix. A Critical Catalogue.

1816-1831, vol. 1 (Oxford: Oxford University Press), 1981, p. 87. Kermit Champa considers Massacre “revolutionary”: “Delacroix relies completely upon his transcribed observation of figures, singly and in groups, to provide by implication whatever pictorial space is necessary. There are no stage flats, arbitrary repoussoirs, or spatial diagonals to assist him. In fact, he clearly intends to make it visually difficult to move through and around the horrific scene of the foreground. The result is a new species of ‘history painting’ that relies on unrelieved realist confrontation for its dramatic and psychological effect. It does not introduce conventions of structure or imagery from the composite vocabulary of Renaissance or Baroque, but, instead, develops its own conventions from the raw material of direct observation. It is wholly irrelevant from the point of view of pictorial realism that Delacroix did not attempt to provide a journalistically accurate representation of the scene depicted, as Géricault had (at least in part) in the Raft.

In the final analysis Delacroix still depends more on his direct transcription of visual reality, even though this reality is provided by models costumed in a studio. He breaks decisively with the tradition of David through his equation of the posed model and the resultant pictorial form. His study of the model is a thing in itself and no longer simply a basis for the development of new ideal types. For these reasons Scios is a revolutionary picture. In it Delacroix advances the realism of David and Géricault and strips it of its neoclassical abstractness. In this picture the realist direction which Delacroix gives to the tradition of David is so evident and powerful that it could not help but have offended Gros who, as his own art developed, relied more and more on the art of the past to soften rather feeble confrontations with visual reality. For the painter of the Barque of Dante, himself, the Massacre at Scios must eventually have become almost equally disconcerting since its realist directness and conviction is almost without echo in his later work, which grows more obviously from the procedural mentality of the earlier picture.” Kermit S.

Champa, “Delacroix – Naturalism and ‘Clarification’,” in Lucius Grisebach and Konrad Renger, eds, Festschrift für Otto von Simson zum 65. Geburtstag (Frankfurt: Propyläen, 1977), pp. 441-2. Elizabeth Prettejohn suggests that the crisis in the Academy first became apparent in the Salon exhibition of 1824: "Ingres's The Vow of Louis XIII is pious and patriotic...Delacroix's Scenes from the Massacres of Chios, on the other hand, is modern and activist...In every aspect of pictorial style, too, the two pictures are starkly contrasted. Symmetry, simplicity, balance of complementary colors, and precision in drawing all contribute to the sense of hushed contemplation in the Ingres; complicated figure groupings, contorted poses, scattered accents of color, and energetic brushwork convey the disarray and sheer horror of Delacroix's massacre.

Thus in both subject-matter and style the two pictures represent the battle between Classicism and Romanticism [in the French Academy], at the heady moment of its emergence.” Elizabeth Prettejohn, Beauty and Art (Oxford: Oxford University Press, 2005), 78-9. Delacroix - The complete works Self Portrait Ferdinand Victor Eugène Delacroix (April 26, 1798 – August 13, 1863) was the most important of the French Romantic painters. Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish writer Sir Walter Scott, and the German writer Johann Wolfgang von Goethe. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on color and movement rather than clarity of outline and carefully modeled form.

Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action. However, Delacroix was given neither to sentimentality nor bombast, and his Romanticism was that of an individualist.

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Your Name 1000+ images about Eugene Delacroix on Pinterest | Portrait, Tortoise and The justice Pinterest • The world’s catalog of ideas Eugene Delacroix 54 Pins296 Followers Ferdinand Victor Eugène Delacroix, più semplicemente noto come Eugène Delacroix (Saint-Maurice, 26 aprile 1798 – Parigi, 13 agosto 1863) artista e pittore francese, considerato fin dall'inizio della sua carriera il principale esponente del movimento romantico del suo paese.

Question: Which French romantic artist painted “The Tiger Hunt” and “The Massacre at Chios”
Answer: Ferdinand Delacroix